映澈之相:中古中国的透明性与转变  

Luminescent Visions:Transparency and Transformations in Medieval China

作　　者：冯安宁 韩文文(译) 杨贤宗(校) Anne N.Feng

机构地区：[1]波士顿大学艺术与建筑史系 [2]哈佛大学东亚系 [3]不详

出　　处：《美术观察》2024年第8期37-48,共12页Art Observation

摘　　要：一般来讲,在现代社会当中所谓透明的事物如工业建筑空间和社会制度,代表了一种对于未来的积极想象。然而在中古世界,无论是西方还是中国,富有透明度的玻璃和水晶,往往十分珍贵稀少,并被赋予了神秘的色彩,为贵族、诗人和哲学家所青睐。这是因为每当人们观看此类物品时,都会拥有不同的视觉经验。对于我国外来玻璃器皿和水晶制品的考古学和物质文化学研究已经非常丰富,基于前辈学者的研究,本文将探讨中国中古时期外来玻璃及水晶制品对于本土视觉文化的影响。笔者将从隋唐佛教舍利瘗埋制度、唐代文学、朝贡系统、宫廷造办等多方面视角,研究透明性视觉经验在中国中古社会文化中起到的重要作用及其对于后世绘画与再现空间的影响。Modern ideas of transparency are often associated with industrial technology and utopian social forms.In the ancient world,however,cherished by philosophers,poets,and aristocrats,transparent objects gave rise to interpretive uncertainties and posed epistemological questions concerning the sense of sight.Based on previous studies in archaeology and material culture,this paper examines imported exotica such as rock-crystal and glass,and its impact on Chinese visual culture in the medieval period.Bringing together sources from Buddhist reliquary burials,medieval literature,Tang tributary systems,and court production,the paper focuses on how the optical effects of transparency were associated with concepts of emptiness,and destabilized perceptions of form and substance,opacity and clarity,the mundane and the miraculous.This process of"seeing through"things led to new developments in painting techniques and stylistic choices that embraced varied textures and surfaces,and new forms of pictorial space.

关 键 词：玻璃 水晶 透明性 视觉经验 物质文化 舍利瘗埋 唐代何家村窖藏 

分 类 号：K879[历史地理—考古学及博物馆学] J120.9[历史地理—历史学] K23[艺术—艺术理论]